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GOSSIP ON D 21. E S S.

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GOSSIP ON D 21. E S S. THE new fashions in millinery, though mainly following the old lines, are not entirely devoid of novelty. On this subject the Daily Telegraph, in an article on Paris Fashions," says The transparency of bonnet crowns is one of the principal features of new spring millinery. These crowns are made of lace, gauze, net, beads, loosely-plaited straw or what not, through which the hair may be partially visible. A certain amount of solidity is afforded by the straw, velvet, or closely ruched lace edge or brim. Colour and consistence is given to transparent crowns and pale blossoms by pleated crimson velvet. This material, as well as ribbon velvet strings of the same colour, is in immense request. It is combined with white lace, pale pink gauze, black lace, besides fine straw crowns, which, of course, are opaque. Deeper shades of red, claret, and ruby are chosen equally with crimson, as well as a kind of mahogany brown and copper colour. Green also plays an important part— myrtle and pine green, and the new shade called vert-de- gris, or "new born leaf." Each and all are combined with very delicate pink, cream, and the various shades of yellow comprehended between primrose and mari- gold. Mushroom-hued materials harmonise well with gold; the velvet is used for quillings, strings, and bows; the lace is interwoven with. gold thread the gauze or net has a vermicelli pattern of gold upon it, or is strewn with gilt beads. For gold in all varieties there is a perfect furore. Half the new bonnets and many of the new hats contain gold in some form or other—gold lace, gold braid mixed with straw, gold tulle, and grenadine, gold beads, gold flowers, seeds, fruits and corn, golden pins, golden lyres, the golden feathers of the pheasant and bird of paradise. And for all this gold a certain amount of black, grey, brown, and sombre green to keep it in countenance somewhat, though, with the exception of black (which holds an important place), the rest are but as Fal- staff's hflf-pennyworth of bread to an unlimited amount of sack. HATS are made with transparent crowns as well as bonnets, but in their case the brim is mostly of straw, lined with velvet. As usual, hats are divided into two distinct series, those made by the milliners, which are decorated with flowers, draped with lace, tulle, crape—even gold net—and those to be seen at the hatters, of which feathers form the principal orna- ment. In both cases the crown is wide and high, and the brim narrow so narrow, perhaps, behind, that it hardly seems to exist, and curled upwards slightly in front so as to show a certain portion of the fluted velvet with which it is almost invariably lined. For simple morning and country hats a most varied collec- tion of bright kerchiefs is in readiness, not only shot with two or three shades, with an Oriental luxuriance of tone, but marked in one corner or printed in gold, besides a fine collection of pins to secure them to the straws, the note of interrogation pin being the latest introduction. THE writer of the article just quoted also makes some observations on the gowns now so much in vogue. He says: The materials for gowns also occupy an important place in the fashions of the day. There are plain glad silks, woollens composed of two colours almost as bright in appearance, shot silks interwoven with specks, spots, lines, and stripes of velvet, and silk Pekins composed of stripes of shot silk, alternating with velvet or fancy stripes. The new, fashionable sunshades are in shot silk—plain or figured-so that from the tip of her parasol to the toe of her burnished bronze boot a Parisian lady is as changeable in hue as a chameleon looking at her in one light she will appear all sapphire blue, in another crimson. Besides blue and red, the favourite combinations are green and crimson, crimson and grey, grey and green, fawn-colour and blue, violet and green, and brown and pink. A figured material is mostly chosen for the skirt, which may be plain or merely scolloped at the lower edge, or kilted; fashion having taken up kilting once more with as much gusto as if it were the newest arrangement out, and had not been worn almost without intermission for more seasons than I can count. A DESCRIPTION of one or two of these chameleon- like gowns may prove useful to the reader. Suppose the skirt to be of silk, composed of stripes of green, shot with purple and grey, covered with narrow lines of very dark green-loosely pleated. Beneath the lower edge appears a frilling of plain green and purple-shot silk. The tunic, full to the waist and folded underneath as it is drawn back and loses it- self in the draperies of the pouf, is of the latter material, and has on one side a cascade of myrtle green, ribbon velvet loops and ends. A bodice to match, with small basques and plastron of green velvet, completes the gown, with addition of a knot of velvet cones on the left shoulder. CYPRUS-GREEN silk shot with claret, composes the tunic (short and draped diagonally) of another gown. The skirt, cut in deep vandycks, has inch-wide stripes of claret-hued velvet on a shot foundation. A double flouncing of silk makes a background to the vandycked edge, and on one side of it (the side left uncovered by the diagonal drapery of the tunic) hangs a loose breadth of plain shot silk folded in three or four plaits. The bodice is of crimson velvet, with 'V-shaped pieces of pleated silk let in, before and behind, while the velvet sleeves, tight to the elbow and forearm, have a high-shouldered bouillenn-e of silk to finish them off. A DINNER gown, made minus the train as So many are nowadays, consists of twilled satin-light blue, shot with terra-cotta pink—and the same material strewn with an infinite number of small ruby-red spots. The bodice of the latter is cut high behind and square in front, the interval being filled up with a full chemisette of pale pink tulle, speckled with red chenille, and completed by elbow sleeves of the same transparent fabric. The short skirt of the speckled satin is hemmed up with a wide band of ruby-coloured velvet for the rest, full paniers and a waterfall drapery of plain shot satin. TiiE Paris correspondent of the Quesn, describing the fashions which prevail in the gay capital, says: Kilted skirts are still in vogue; but the American folds called "knife plaitings" are rarely made, as they quickly get out of order. The newest style is to have alternate plaitings of two different materials, as one stripe of moire or shot silk and one of white lace insertion; sulphur satin and old Grenada lace are often used in this manner. If such a skirt is light, then the bodice is round-waisted, and a wide scarf of either lace, crepe, or Oriental silk is tied round the hips and finished off at the back with a bow and wide fringed ends. If the skirt is dark, then the bodice is made entirely of dark silk or velvet. For morning walks in the Bois, or visits to the old curiosity shops, for which there is quite a craze at present, the Parisiennes are wearing large blouses made of striped woollen, fastened on the right shoulder and draped on the left hip; the plain skirt is either velveteen or dark cloth, and generally trimmed with a wide velvet band. AMONG the colours in vogue for woollen costumes, blue and red decidedly play the principal parts up to the present. For example, the skirt will be plain blue, and the blouse will be either embroidered with red flowerets, or the guimpe collar and euffs will be of some supple red silk or embroidery, pleasantly relieving the simplicity of a plain costume. Moss- green and dark blue (the shade called "bluemer") also make a happy combination for this style of morning costume. Soft materials, be they silk or wool, that drape in graceful folds, are still preferred. TilE correspondent of theQueen adds some interest- ing details of the fashionable doings of Parisian society, from which we take the following: The fashionable world has returned to Paris from our southern cities, and receptions and five o'clock teas are again in full swing. The tea is taken, but no cakes are offered with it, because of the Lenten season. There have been smart teas this week given by the Comtesse de Ponteves, and by the Marquise de Tracy, where I remarked the following costumes. The Baronne de la Grange in dark blue embossed velvet; simple skirt bordered with a thick-silk ruche, velvet bodice with paniers draped at the back en pouf and edged with a band of sable; a small blue bonnet with ruched brim, a blue veil spotted with gold, and a goM- tipped aigrette tiny velvet and fur muff. Comtesse Witztum (a foreigner) in a superb toilette of violet- blue satin; the skirt bordered with narrow flounces alternate velvet and satin; the tunic was ex- quisite embroidery of the last century—quite a work of art; it was worked au passe in shaded flowers and leaves velvet bodice with short basques, and a large pouf at the back blue velvet muff with 6cru lace at the ends, and a large yellow bow at the top, the ends cut in the form of swallows' tails; blue velvet bonnet, with a marabout aigrette, surrounded with silver lace, narrow strings fastened with emeralds I e, t, round the throat a lace ruche, with a velvet band studded with emeralds lace on the sleeves, and long buttonless Suede gloves almost covered by bracelets. Comtesse Baucher wore a lilac moire dress, with long redingote, plaited waistcoat in plain lilac silk, flat lace collar and cuffs; lilac terry bonnet, with sprays of lilac. The Marquise de Tracy wore an olive-green embossed velvet skirt, with plain velvet bodice, the basques being lined with embossed velvet and turned upwards olive-green velvet bonnet, with gold pow- dered marabouts. Af me. du Mont was in a blue cloth redingote, fastened with brandebourgs, which fell on the box-plaited velvet skirt: for small blue bonnet. much ruched with lace, was ornamented with real camellias and roses, and similar flowers were fastened in the buttonhole of her redingote and on the top of her tinv muff: the effect was excellent. Mme. de Ponteves' rich black toilette was very novel. The material of the skirt was velvet, studded with terry lozengers, the bodice was a jet cuirass, and the sleeves were lace frills from wrist to elbow an enormous lace ruche bordered the bodice and formed the collar. Comtesse Beaumont wore a dark green satin kilted skirt, a velvet mantle lined with old-gold satin, and trimmed with gold passementerie: the crown of the velvet bonnet was worked in gold beads, the brim being ruches of black and gold lace. Comtesse Sapinard's costume was also pretty--violet velvet skirt and mantelet, "vith long ends trimmed heavily with chenille fringe violet satin bonnet, with shaded pansies.

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